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Der Photograph Willi Huttig
(2019)
Die ersten Filme aus Ägypten
(2005)
In her poems, Tawada constructs liminal speaking subjects – voices from the in-between – which disrupt entrenched binary thought processes. Synthesising relevant concepts from theories of such diverse fields as lyricology, performance studies, border studies, cultural and postcolonial studies, I develop ‘voice’ and ‘in-between space’ as the frameworks to approach Tawada’s multifaceted poetic output, from which I have chosen 29 poems and two verse novels for analysis. Based on the body speaking/writing, sensuality is central to Tawada’s use of voice, whereas the in-between space of cultures and languages serves as the basis for the liminal ‘exophonic’ voices in her work. In the context of cultural alterity, Tawada focuses on the function of language, both its effect on the body and its role in subject construction, while her feminist poetry follows the general development of feminist academia from emancipation to embodiment to queer representation. Her response to and transformation of écriture féminine in her verse novels transcends the concept of the body as the basis of identity, moving to literary and linguistic, plural self-construction instead. While few poems are overtly political, the speaker’s personal and contextual involvement in issues of social conflict reveal the poems’ potential to speak of, and to, the multiply identified citizens of a globalised world, who constantly negotiate physical as well as psychological borders.
The present thesis is devoted to a construction which defies generalisations about the prototypical English noun phrase (NP) to such an extent that it has been termed the Big Mess Construction (Berman 1974). As illustrated by the examples in (1) and (2), the NPs under study involve premodifying adjective phrases (APs) which precede the determiner (always realised in the form of the indefinite article a(n)) rather than following it.
(1) NoS had not been hijacked – that was too strong a word. (BNC: CHU 1766)
(2) He was prepared for a battle if the porter turned out to be as difficult a customer as his wife. (BNC: CJX 1755)
Previous research on the construction is largely limited to contributions from the realms of theoretical syntax and a number of cursory accounts in reference grammars. No comprehensive investigation of its realisations and uses has as yet been conducted. My thesis fills this gap by means of an exhaustive analysis of the construction on the basis of authentic language data retrieved from the British National Corpus (BNC). The corpus-based approach allows me to examine not only the possible but also the most typical uses of the construction. Moreover, while previous work has almost exclusively focused on the formal realisations of the construction, I investigate both its forms and functions.
It is demonstrated that, while the construction is remarkably flexible as concerns its possible realisations, its use is governed by probabilistic constraints. For example, some items occur much more frequently inside the degree item slot than others (as, too and so stand out for their particularly high frequency). Contrary to what is assumed in most previous descriptions, the slot is not restricted in its realisation to a fixed number of items. Rather than representing a specialised structure, the construction is furthermore shown to be distributed over a wide range of possible text types and syntactic functions. On the other hand, it is found to be much less typical of spontaneous conversation than of written language; Big Mess NPs further display a strong preference for the function of subject complement. Investigations of the internal structural complexity of the construction indicate that its obligatory components can optionally be enriched by a remarkably wide range of optional (if infrequent) elements. In an additional analysis of the realisations of the obligatory but lexically variable slots (head noun and head of AP), the construction is highlighted to represent a productive pattern. With the help of the methods of Collexeme Analysis (Stefanowitsch and Gries 2003) and Co-varying Collexeme Analysis (Gries and Stefanowitsch 2004b, Stefanowitsch and Gries 2005), the two slots are, however, revealed to be strongly associated with general nouns and ‘evaluative’ and ‘dimension’ adjectives, respectively. On the basis of an inspection of the most typical adjective-noun combinations, I identify the prototypical semantics of the Big Mess Construction.
The analyses of the constructional functions centre on two distinct functional areas. First, I investigate Bolinger’s (1972) hypothesis that the construction fulfils functions in line with the Principle of Rhythmic Alternation (e.g. Selkirk 1984: 11, Schlüter 2005). It is established that rhythmic preferences co-determine the use of the construction to some extent, but that they clearly do not suffice to explain the phenomenon under study. In a next step, the discourse-pragmatic functions of the construction are scrutinised. Big Mess NPs are demonstrated to perform distinct information-structural functions in that the non-canonical position of the AP serves to highlight focal information (compare De Mönnink 2000: 134-35). Additionally, the construction is shown to place emphasis on acts of evaluation. I conclude the construction to represent a contrastive focus construction.
My investigations of the formal and functional characteristics of Big Mess NPs each include analyses which compare individual versions of the construction to one another (e.g. the As Big a Mess, Too Big a Mess and So Big a Mess Constructions). It is revealed that the versions are united by a shared core of properties while differing from one another at more abstract levels of description. The question of the status of the constructional versions as separate constructions further receives special emphasis as part of a discussion in which I integrate my results into the framework of usage-based Construction Grammar (e.g. Goldberg 1995, 2006).
Gegenstand der Dissertation ist die Geschichte und Manifestation des Nationaltheaters in Japan, der Transfer einer europäischen Kulturinstitution nach und deren Umsetzungsprozess in Japan, welcher mit der Modernisierung Japans ab Mitte des 19. Jahrhunderts begann und erst hundert Jahre später mit der Eröffnung des ersten Nationaltheaters 1966 endete. Dazu werden theaterhistorische Entwicklungen, Veränderungen in der Theaterproduktion und -architektur in Bezug auf die Genese eines japanischen Nationaltheaters beleuchtet. Das Ergebnis zeigt, dass sich die Institution Nationaltheater in seiner japanischen kulturellen Translation bzw. Manifestation wesentlich von den vom Land selbst als Model anvisierten Pendants in Europa in Inhalt, Organisations- und Produktionsstruktur unterscheidet. Kulturell übersetzt wurde allein die Hülle der europäischen Institution. Das erste Nationaltheater in Japan manifestiert sich als eine von der Regierung im Rahmen des Denkmalschutzgesetztes initiierte und bestimmte, spezifisch japanische Variante eines Nationaltheaters, die unter dem Management von staatlichen Angestellten und Beamten den Erhalt traditioneller Künste in dafür ausgerichteten Bühnen zur Aufgabe hat. Nationaltheaterensemble gibt es nicht, die Produktionen werden mit Schauspielern kommerzieller Theaterunternehmen realisiert. Der lange Prozess dieser Genese liegt in der nicht vorhandenen Theaterförderung seitens der Regierung und der eher zurückhaltenden Haltung der Theaterwelt gegenüber einem staatlich betriebenen Theater begründet. Das Hüllen-Konzept des ersten Nationaltheaters diente, genau wie dessen Management durch Beamte, als Prototyp für die fünf weiteren bis 2004 eröffneten Nationaltheater in Japan, welche als Spartentheater der spezifisch japanischen Vielfalt an Theaterformen, auch in ihrer Bühnenarchitektur Rechnung tragen.
Stress position in English words is well-known to correlate with both their morphological properties and their phonological organisation in terms of non-segmental, prosodic categories like syllable structure. While two generalisations capturing this correlation, directionality and stratification, are well established, the exact nature of the interaction of phonological and morphological factors in English stress assignment is a much debated issue in the literature. The present study investigates if and how directionality and stratification effects in English can be learned by means of Naive Discriminative Learning, a computational model that is trained using error-driven learning and that does not make any a-priori assumptions about the higher-level phonological organisation and morphological structure of words. Based on a series of simulation studies we show that neither directionality nor stratification need to be stipulated as a-priori properties of words or constraints in the lexicon. Stress can be learned solely on the basis of very flat word representations. Morphological stratification emerges as an effect of the model learning that informativity with regard to stress position is unevenly distributed across all trigrams constituting a word. Morphological affix classes like stress-preserving and stress-shifting affixes are, hence, not predefined classes but sets of trigrams that have similar informativity values with regard to stress position. Directionality, by contrast, emerges as spurious in our simulations; no syllable counting or recourse to abstract prosodic representations seems to be necessary to learn stress position in English.